>>510911170
>Pretty much. Nirvana fags went on the Headbangers Ball wearing ballroom gowns because they were shabbos goy shitting on the white man's last refuge in music. They were pushing suicidal aparhy to white youths and rap to anyone who projected their frustration outwardly (toward functioning white society).
I wonder if the depressing turn of grunge music in the early 90s was like the "death cry" or death rattle of the white working class as a force in society. By the early 90s, neoliberalism was already in effect as the dominant economic system and the white working class had almost been fully crushed (NAFTA was the final nail in the coffin, a few years later).
Rock is white working class music, ultimately. Yes, there was originally black influence, but rock took off among ordinary whites in the 60s and remained the genre of regular white people.
The 80s is when the white working class started to get destroyed and power shifted to the yuppies. It was no longer honorable or respectable to be a blue collar worker, rather something to be ashamed of.
So in the 80s, this hard truth, and the changing ethos, was covered over by glam bands, so people could pretend things were still okay. By the early 90s, people wanted culture to reflect the changes that had occurred in society. Shows like "Married with Children" and "The Simpsons," and most of all "Roseanne," depicting white working class life as not all that great anymore became overnight successes (really in the late 80s) because they seemed authentic and truthful to most people. Way more truthful than "Silver Spoons" and the earlier 80s shows.
So by the early 90s, we got a breakthrough of truth in the music world: truth being that it's over for the white working class, the bedrock of rock music. That was the death scream for this class as any relevant political force or group in society.
After grunge, the white working class funeral was over, and black people (rap etc.) and pop stars (Brittney Spears)
